Xiaorui
Huang
MUS 380
37662Mid-term paper & cue-sheet
Instructor: Dr. Grasso
Score: 96/100
Anthropocentrism
in the Film Music of Twenty Thousand
Leagues Under the Sea
Movies play an
important role in introducing to people the external world and various
worldviews and therefore can shape the way that people perceive their
relationship with nature. As a building block of filmic expression, film music greatly
influences audience’s perception of how they relate to nature. As a movie
deeply connected to the ocean that covers more than 70% of earth surface, Twenty Thousand Leagues Under the Sea
(1954) is a typical movie in which the music has subtle paradigm indication on
mankind’s relationship with nature and such indication could profoundly
influence audiences’ perception. How do the characters’ leitmotifs in this
movie indicate their attitude toward the ocean? What kinds of music are used to
accompany the characters' interaction with sea creatures? In this essay, I will
discuss the relationship between mankind and nature that is indicated by the
film music in Twenty Thousand Leagues
Under the Sea. Basically, the music in this movie promotes anthropocentrism
that considers human beings as the dominators of nature.
Controversy exists on
what kind of relationship between human and nature is indicated by the film
music of Twenty
Thousand Leagues Under the Sea.
As a scholar in film and media study, Jay P. Telotte in his essay Science Fiction as "True-Life
Adventure": Disney and the Case of 20,000 Leagues Under the Sea argues
that the music orchestration in this
movie humanizes sea creatures. Telotte explains that this movie present “animals
as anthropomorphic characters and their lives as drama” through “syncopating [sic]
natural behavior to music and editing the animals' actions to fit narrative
needs” (72). Specifically, the scores accompanying scenes of animals are synchronized
to animal’s actions, which technically treats them as human actors in
production and helps assimilate the status of animals to human beings in the
narrative (Telotte 74). For example, at 1:46:38 the short motive used to
synchronize sea lion Esmeralda’s tucking in a blanket is similar to the motive
used to synchronize Ned Land’s tucking in at 1:46:42, which anthropomorphizing
Esmeralda to Ned. According to Britannica Encyclopedia, anthropomorphism refers
to “the interpretation of nonhuman things or events in terms of human
characteristics”, which indicates that shared attributions exist between
mankind and non-human beings like animals (“Anthropomorphism”). In this sense, the
application of anthropomorphism to sea creatures in music synchronization in
this movie conveys a sense of equality among human beings and ocean creatures.
This equality, by extension, rejects the notion of mankind as conqueror and
dominator of nature but as a part of nature.
However, Telotte’s explanation
only focuses on the use of musical synchronization on animals but neglect the
context of the movie. When considering the music together with the scenes, it reflects
anthropocentrism rather than anthropomorphism. According to Merriam-Webster
Dictionary, anthropocentrism refers to that a
worldview that “considers human beings as the most significant entity of the
universe” and “interpret the world in terms of human values and experiences” (“anthropocentric”).
In Twenty Thousand Leagues Under the Sea,
the musical themes of undersea hunting, Captain Nemo, and Ned Land all promote
anthropocentrism.
The musical theme of
undersea hunting reflects anthropocentrism as it promotes the ideas of mankind’s
exploiting and ruling over the undersea world. At 0:43:35 this theme is played
by the whole orchestra. Through a tremolo by marimba and the bright main melody
by strings and brass, this theme promotes the visual scene in which the crew
from the Nautilus is hunting and collecting ocean creatures for food and other
uses. The hunting methods they used involve cruel treatments to animals. For
example, at 0:44:32 divers hunt lobsters with net in which lobsters easily have
their legs broken off[1]
and at 0:44:57 divers seize both forelegs of sea turtles and escort them like criminals.
Besides, Prof. Aronnax in narratage says “I can only … envy him his rule over
this forgotten reach of nature” and “here in abundance were various substances
necessary to sustain life -- an underwater larder filled to overflowing, and
all Captain Nemo’s for the taking.” With the sense of admiration in its melody,
the musical theme of undersea hunting helps promote mankind’s extraction of
ocean resources and ruling over the undersea world. Therefore, it conveys an
anthropocentric idea that the ocean is there for mankind’s use.
Besides the theme of
undersea hunting, Captain Nemo’s theme also indicates anthropocentrism by
expressing indifference to ocean creatures in several scenes. For example, the
scene where a huge whale is misidentified as the Nautilus at 0:11:20 uses the
melodic idea of Nemo’s theme and reflects anthropocentrism as it indicates that
the ocean creatures only have value for mankind’s uses. The motive in this
scene somewhat distorts the Nemo’s theme to express that the whale is not the
Nautilus that the warship is after. This motive uses low brass to convey the disappointment
and upset of the crew after they identify that the huge whale is not the Nautilus.
In this sense, the music implies an anthropocentric view that although the
whale is one of the biggest sea creatures, it has no value to the crews because
currently it has no use to them.
Other than the undersea
hunting theme and Captain Nemo’s theme, Ned Land’s theme is also anthropocentric
because it shows Ned’s disrespect to the ocean. This theme is based on the song
A Whale of a Tale that Ned sings to
sailors on the warship. Ned sings it while playing guitar and being accompanied
by accordion. Its lyrics are amusing and its melody is quick, lively, and like
a folk song. This theme indicates that Ned as a master harpooner is disrespectful
to the ocean and its creatures. Specifically, although this song shows a sailor’s
affection to the ocean, the affection is based on the portrayal of mermaid and
typhoon as females that male sailors can flirt with, which demeans the ocean by
making it subordinate to mankind[2].
In other words, this song indicates an anthropocentric view that that human
beings do not belong to nature but rule over it.
The use of Ned’s
leitmotif in the scene where Ned tries to make drift bottles at 1:15:10 also shows
disrespect to nature. In this scene Ned’s theme is played by woodwinds in a
comic way when Ned asks Conseil to get some specimens of ocean creatures for
him to make drift bottles. The amusing and lively melody shows that the music connives,
if not approves, what Ned does in the image. In this scene, Ned dumps the specimens
for the bottles and the alcohol even though Conseil repeatedly stresses that “these
specimens are priceless”. In addition, Ned swallows a specimen carelessly when
he drinks the alcohol directly from the bottle. Ned’s treatments to specimens show
his disregard to the value of ocean creatures and the ocean. Therefore, by conniving
at or even approving such treatments, the music itself reflects
anthropocentrism.
In Twenty Thousand Leagues Under the Sea, musical themes of two major
characters Captain Nemo and Ned Land, and of an important undersea hunting
scene all reflects anthropocentrism as they express indifference and disrespect
to the ocean and promote the idea that the ocean only has value for mankind’s
uses. Therefore, despite some anthropomorphizing techniques are used musically
on sea creatures, the music in general in this movie is anthropocentric.
Work Cited
20,000 leagues under the sea. Dir. Richard Fleischer.
Perf. Kirk Douglas, James Mason, Paul Lukas, Peter Lorre. 1954. Walt Disney
Pictures , 2003. DVD.
"Anthropocentric". Encyclopædia
Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2012. Web. 05 May. 2012
<http://www.britannica.com/EBchecked/topic/27536/anthropomorphism>.
Encyclopædia Britannica Inc., 2012. Web. 05 May. 2012
<http://www.britannica.com/EBchecked/topic/27536/anthropomorphism>.
"Anthropomorphism". Merriam-Webster
Dictionary. Encyclopædia Britannica Inc., 2012. Web. 05 May. 2012
<http://www.britannica.com/EBchecked/topic/27536/anthropomorphism>.
<http://www.britannica.com/EBchecked/topic/27536/anthropomorphism>.
Telotte,
Jay P. "Science Fiction as "True-Life Adventure": Disney and the
Case of 20,000 Leagues Under the Sea." Film & History: An Interdisciplinary
Journal of Film and Television Studies. 40.2 (2010): 66-79. Web. 4 May.
2012.
<http://muse.jhu.edu.libproxy.uoregon.edu/journals/film_and_history/v040/40.2.telotte.html>.
Cue-sheet <20000 Leagues Under the Sea>
(1954)
0:00:00 Main title is a polyphonic piece by the whole orchestra. Its tempo is moderato. The first part is solemn but bright leitmotif. Then it
shifts to a cheerful motive, a motive of grave strings, and end with harsh
brasses.
0:01:28 When the book page “Alarming Rumors” appears in image, a motive by low
brass, woodwind, and strings starts
0:01:49 When a ship appears in the image, a lyrical motive by brass, woodwinds and
strings starts. Then the music shifts to an unsettling and descending motive as
the image fades out. After that the Nautilus appears in the image and sound of
low brass enters. When the Nautilus
accelerates toward the ship, a monophonic ascending motive by low brass starts
and stops when the Nautilus collides with the ship.
0:04:04 When Casey hits Ned with Billy’s crutch and the street fight starts, Ned’s
theme is played by brass and woodwinds in a lively way.
0:04:51 When Prof. Aronnax and Conseil take a carriage to buy ship ticket, a motive
by woodwinds and strings starts. This motive is slow and is in minor key.
0:09:28 When the U.S. governmental warship appears, a peaceful, consonant, and
polyphonic motive by strings and woodwinds starts. It is of andante tempo.
0:10:00 When the U.S. warship is experiencing a storm in the sea, loud and tense
string and brass enters. Then when Ned gives a banana to Conseil who is also on
the board, Ned’s leitmotif is played by string and brass in an adagio tempo.
0:11:01 When the masthead man misidentifies a huge whale as the monster, a slow
motive by low strings and brass starts. This motive uses the varied melodic
idea of Nemo’s leitmotif. Then Ned’s leitmotif starts as he tries to throw off
the shaving cream.
0:13:20 Ned plays the guitar and sings A Whale of a Tale. He is accompanied by a
sailor who is playing accordion. This song is lively and like a folk song. It
is of quick duple tempo and is in major key.
0:15:40 When the masthead man identifies a marine peril, a slow, tense, sorrowful,
and grave motive by brass and string starts. It is polyphonic. When the U.S.
warship approaching the shipwreck, the music becomes quicker and tenser.
0:16:50 When the U.S. warship identifies the Nautilus, the tense motive of 0:15:40
is played again.
0:17:29 When the warship starts cannonading the Nautilus, a marching-like brass
motive starts, and this motive alternates with a tense motive. When the
Nautilus turns around and accelerates toward the warship, a grave and tense
motive by low brass starts. As the Nautilus approaches the warship, the sound
of its engine becomes louder and shouts down the music.
0:19:32 When Prof. Aronnax struggles in the water, a suspended, sorrowful, and
polyphonic motive in minor key starts.
0:20:07 When Prof. Aronnax and Conseil float in the water, a suspended, mysterious,
and slightly grave motive by strings, brass, and woodwinds starts. Then when
they find Nautilus and get on it, a motive in minor key and in low volume
starts. This motive uses drone of high pitch to create tense.
0:22:43 When Prof. Aronnax enters the Nemo’s gallery, a splendid and loud motive by
strings starts. And when he finds the undersea window, it becomes even louder.
In this scene, the suspended sense in the music continues.
0:24:20 When Ned enters the Nautilus, his leitmotif in brass starts and it is in
minor key.
0:27:00 A sudden loud and harsh motive by brass starts when Nemo finds that Prof.
Aronnax standing in the Nautilus. Then a quick, tense, and dissonant motive
starts when Prof. Aronnax, Conseil, and Ned leave the Nautilus but are catched.
0:38:49 Nemo’s leitmotif in low brass starts when the outer appearance of the
Nautilus appears in the image (it is diving underwater).
0:40:39 A descending motive by woodwinds starts when Conseil gets down to the
seabed and joins the undersea expedition.
The music contains a sense of mystery.
0:41:32 When Prof. Aronnax and Nemo join the undersea expedition, a somewhat bright but mysterious motive by
brass and strings starts. It is polyphonic. The music gradually becomes louder
and pleasing but remains a sense of suspended. The melody is wave-like.
Dissonance does resolve in consonance.
43:35 The theme of undersea hunting and collecting starts when the crew of the
Nautilus harvest undersea creatures for food and other uses. This theme is of
duple meter and is played by the whole orchestra. It
is generally consonant and its tempo is moderato.
0:45:25 When Ned and Conseil go to the sunken ship to find treasure, a slower Ned’s
leitmotif in woodwinds starts. As they enter the ship, a suspended motive by
woodwind, strings, and brass starts. When the shark appears, loud brass can be
heard.
0:47:40 When the shark attacks Ned and Conseil, a harsh and tense motive by low
strings, brass, and percussion starts. Then it shifts to Nemo’s leitmotif when
he shoots the shark.
0:52:30 Nemo plays Bach’s Toccata and Fugue in D minor BWV 565 in organ.
Then at 0:53:55 the sound of Ned’s strumming Banjo enters and mixes with the
organ
0:55:10 Ned sings A Whale of a tale to sea lion Esmeralda (Nemo’s pet) to cover his
stealing the treasure.
0:56:45 A slow, sorrowful and suspended motive starts when Prof. Aronnax and Nemo
are talking. And when Nemo opens the cover of the undersea-view window, the
music becomes peaceful.
0:58:48 When Prof. and Nemo go ashore to see the prison camp, a slow and grave by
low strings, brass, and percussion starts. And on their way back to the
Nautilus when Nemo talks about his past, Nemo’s leitmotif by string starts.
This leitmotif in this scene is played slowly and in low volume.
1:01:26 Nemo plays Bach’s Toccata and Fugue in D minor BWV 565 in organ before he
strikes the ship that earlier stopped by the prison camp. The music is
increasingly tenser until the bell rings and he stops playing.
1:03:05 When Nautilus accelerates toward the ship, a descending and harsh motive by
strings and low brass starts. The music becomes louder and tenser as the
Nautilus approaches the ship.
1:06:48 When Nemo tells his tragic past to Prof. , Nemo;s leitmotif is played in
low volume and in a sorrowful way.
1:10:20 When Ned and Conseil go to check charts, an amusing motive in brass starts.
It then shifts to Ned’s leitmotif that is played in a slow and sneaky way.
1:14:38 When Nemo returns to the Nautilus from the undersea repairing site, a
suspended motive by brass, woodwinds, and strings starts. It gets quicker as he
approaches his cabin.
1:15:15 When Ned and Conseil makes plan to escape and makes drift bottle, Ned’s
leitmotif in woodwind starts. The music is amusing and comic.
1:17:58 When Ned throw drift bottles in the water from the top of the Nautilus, his
leitmotif is played lively in flute. He is also humming the same melody.
1:20:59 When Ned and Conseil cheat Nemo to get ashore, Ned’s leitmotif in woodwinds
and brass starts
1:21:20 When Ned and Conseil get ashore, a lyrical, consonant, and polyphonic
motive by strings and woodwinds starts. Its tempo is moderato
1:22:55 Then Ned farewells with Conseil and enters the jungle, Ned’s leitmotif
starts again.
1:23:12 As Ned walks in the jungle, a descending motive starts. Then shifts to Ned
whistles his theme and is accompanied by woodwinds. When he finds skulls, loud
and harsh strings enters.
1:25:13 When Ned and Conseil are chased by Cannibals, a loud, wild, and primitive motive by brass,
percussion, and string starts. It then shifts to Ned’s leitmotif played in a
quick, tense, but amusing way.
1:32:19 When the Nautilus is attacked and leaks, a grave, dissonant, and polyphonic
motive by low strings and brass starts.
1:35:08 When the Nautilus is fixed temporarily, Nemo’s leitmotif in low volume by
stings and brass starts.
1:35:45 When a giant squid appears, a harsh motive by strings and brass starts
suddenly. The music is ascending as the squid approach the Nautilus. The motive
that is dissonant and polyphonic continues as the Nautilus comes up to the
surface and its crew starts fighting with the squid. The music becomes tenser
when the squid’s tentacles enter the Nautilus. Repeated descending groups of
notes in flute can be heard. And when Nemo is trapped by a tentacle, the music
becomes louder and is of higher pitch.
1:44:16 Ned sings A Whale of a Tale to the sea lion Esmeralda with changed lyrics
that mocks Nemo.
1:50:17 When the Nautilus spots warships around Volcania, a sorrowful string motive
starts. It shifts to a loud and harsh motive by brass and strings when warships
appear in the image.
1:51:27 When the Nautilus dives into Volcania, Nemo’s leitmotif starts. In this
scene, the leitmotif is played in a stately and slightly grave way by brass and
strings. It is polyphonic.
1:52:49 When Nemo takes a boat and leave the Nautilus for his base on shore, a
tense, harsh, and polyphonic motive by low strings starts.
1:53:16 When the enemy soldiers get to the summit and run down, a tense and quick
motive by brass, strings, and drums starts. It is dissonant and of quick duple meter.
1:54:30 When Nemo runs out from the base and gets on the boat, his leitmotif is
played with the accompaniment of drum. High brass is used to create tension.
When Nemo approaches the entrance of the Nautilus, the music becomes tense,
quicker, and of higher pitch until he is shot. Then harsh brass enters.
1:56:24 When Nemo drives the
Nautilus diving and getting out of Volcania, his leitmotif is played by string
and brass in a slow and desperate way.
1:57:34 When the Nautilus dives, a descending motive by strings starts. Its texture
is monophonic. Then Nemo’s theme is played by high strings as he struggle to
get down and make address. The music is sorrowful, desperate and is in minor
key.
2:01:18 When Ned fights with the sailors on the Nautilus, a dissonant, quick, and
polyphonic motive by strings, woodwinds, and brass starts.
2:03:11 When Ned saves Prof. Aronnax and Conseil, an ascending motive in strings
starts. It is of quick duple.
2:04:29 When Nemo manages to open the cover of the undersea-view window before he
dies, his leitmotif is played by strings in a slow and grave way. A drone of
low string is used.
2:06:04 When Nautilus sinks, Nemo’s
leitmotif is played by the whole orchestra. Then, “The End” and other captions enter with the accompaniment of
Nemo’s theme.
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